2DVD set of the band's return to live performance in 1994. The previously unseen footage consists of two complete audio/video shows and is the earliest footage of the Double Trio in action. This set will be available in bricks and mortar record stores as well as the usual mail order outlets.

The new CD presents a near complete new stereo mix by Steven Wilson and Robert Fripp. As tape for one track The Devil's Triangle could not be located the original stereo is included to maintain the original running order. The CD also includes a new mix of Groon (Cat Food b-side) a newly mixed alternate take of Peace: An Ending and the first CD appearance of Greg Lake's guide vocal take of the beautiful ballad Cadence and Cascade. The DVD-A features a 5.1 mix by Steven Wilson, with Devil's Triangle up-mixed to 5.1 by Simon Heyworth, hi-res stereo versions of the 30th anniversary stereo master, the 2010 album mixes and ten hi-res bonus tracks including the original single a & b side Cat Food/Groon, the bonus tracks from the CD and a number of other session takes, rehearsals and mixes.

Fourth in the series which captures live King Crimson at their finest, live in Warsaw, Poland, 2000 will appeal to both Crimson enthusiasts and music lovers alike. This 2 CD is the perfect companion to the re-release of the 'Eyes Wide Open' double DVD. Live in Warsaw 2000 showcases the four piece line up of Robert Fripp, Adrian Belew, Pat Mastelotto and Trey Gunn and includes an encore rendition of David Bowie's 'Heroes'.(It was Robert Fripp after all who fashioned the ultra distinctive guitar part on the original David Bowie recording).

In the Court of the Crimson King - is one the most revered rock albums of all time. Steven Wilson & Robert Fripp have collaborated to produce a completely new stereo mix drawn directly from the original multitrack tapes. Presented as a 2CD Jewel case edition with new sleeve notes by Robert Fripp & King Crimson biographer Sid Smith along with rare photos & archive material.

Live in Mainz 1974
As a performing group, we had been developing a style of improvisation
which I believe was unique to this quartet. Most of the improv bands at the
time would have been Jazz, but we were the only artists to operate in a
"rock" environment. Our beefy rhythm section was crowned by an outstanding
soloing team of Robert and David, and my monitors were inevitably
de-throned by the firepower of the band. John Wetton.

Live in Asbury Park 1974
Presented uncut for the very first time using unreleased mixes from the
multitracks, and without the Eddie Jobson overdubs, the power of this gig
is tangible. Despite the internal politics and tensions of the period, the
band taps into a ferocious energy that never stops burning. Wetton is
especially inventive, infusing the material with a brutal force. Sid Smith.

Ladies Of The Road is a two-volume Special Edition of live performances during 1971-72 drawn from the archives of the King Crimson Collector’s Club.
Volume One: Ladies Of The Road is a series of performances beginning with the play-in shows at the Zoom Club, Frankfurt through of the final Earthbound tour of America.
Volume Two: Schizoid Men is a compilation of sax & guitar solos played during performances of 21st Century Schizoid Man throughout its life.

The first new King Crimson album since 1996. This CD is a single volume compilation documenting the best of the radically new material developed by the 4 King Crimson ProjeKcts or sub-groups. These ProjeKcts featuring Adrian Belew, Bill Bruford, Robert Fripp, Trey Gunn, Tony Levin and Pat Mastelotto have toured extensively in the US and Europe.

The definitive live statement from the '73 Crimson, surpassing even the standards set on the Great Deceiver. Remixed from the original multi-track tapes, the legendary Amsterdam concert is for the first time presented in its complete form, including Starless and Bible Black and Fracture.

On its release in 1981, Discipline represented a startling reinvention for this most restless of bands.

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When Robert Fripp declared in 1974 that King Crimson had "ceased to exist" nobody could have foreseen that they would break their silence seven years later with an album that perhaps had more in common with the then current post-punk new wave than the band's progressive rock past.

Released in 1981, Discipline was a startling reinvention with a new line-up performing radically different material that managed to delight fans, confound critics & pick up a substantial new audience along the way.

30 years on, Discipline remains one of the key albums of the early 1980s and one of the most popular and influential in King Crimson's catalogue.

As different from the 1970s King Crimson, as the 1970s line-ups had been from the 1960s band, the new quartet of Robert Fripp, Bill Bruford, Adrian Belew (ex-Zappa, Bowie, Talking Heads) and Tony Levin (Peter Gabriel), rapidly established itself as a force on the live circuit.

The longer songs of the 1960s & early 1970s & the extended improvisations of the live performances from the earlier touring bands were replaced with a series of short taut songs imbued with a minimalist aesthetic that featured complex interwoven guitar lines, (coined 'rock gamelan') Belew's distinctive vocals, Bruford's new armoury of electronic percussion & Levin's fluid bass & Chapman stick lines.

Songs written for the album became firm fixtures in the band's repertoire and the stature and influence of the material has grown over the years. Matte Kudasai for example, has become something of a modern standard recorded by jazz vocalist Kurt Elling last year & performed live recently by k.d. lang.

The album charted on release in many countries - including the UK & USA - while the touring schedule took the band through Europe, the US & Japan in its first year of activity. By the end of 1981 Crimson was, once again, viewed as one of rock music's premier outfits.

King Crimson had also achieved a rare feat for a rock group by becoming one of the very few acts to release a classic album in three separate decades. From In the Court of the Crimson King in 1969, via Red in 1974 to Discipline in 1981, with differing line-ups & radically different sounds the band's reputation for innovation & progression (in the best sense of the word) was unassailable.

As with other albums in the King Crimson CD/DVD-A series, the stereo CD features a new stereo mix by Robert Fripp & Steven Wilson, while the DVD-A features 5.1 mixes of the album by Steven Wilson, high resolution stereo mixes of the original & new stereo mixes, a rough mix of the album presented in its first intended running order,video footage from The Old Grey Whistle Test TV show & further audio extras & rarities.

In The Wake Of Poseidon is the second in a series of audiophile King Crimson vinyl reissues.

Newly cut from masters approved by Robert Fripp, this super-heavyweight vinyl re-issue is housed in a reprint of the original gatefold sleeve and contains bonus MP3 codes giving access to a download of a transfer of an original 1970 pressing (Robert Fripp's personal file copy).

An ambitious follow-up to an iconic album, In The Wake of Poseidon justly continues to intrigue King Crimson fans over 40 years after its initial release.

Larks' Tongues In Aspic is the fifth in a series of audiophile King Crimson vinyl reissues.

Newly cut from masters approved by Robert Fripp, this super-heavyweight 200gm vinyl re-issue is housed in a reprint of the original sleeve and contains bonus MP3 codes giving access to a download of a transfer of an original 1973 pressing.

With its raw tone, inspired improvisations and hard hitting odd-metered rhythms, the album marked a radical departure for this most forward thinking of groups and was the first to include Bill Bruford and John Wetton as band members.

Larks' Tongues In Aspic, from 1973, is widely regarded as one of the truly great King Crimson albums.

With its raw tone, inspired improvisations and hard hitting odd-metered rhythms, the album marked a radical departure for this most forward thinking of groups and was the first to include Bill Bruford and John Wetton as band members.

This 2cd edition features new mixes by Steven Wilson (Porcupine Tree) and Robert Fripp.

CD 1 features the completely new stereo album mix by Robert Fripp & Steven Wilson and also features three extra Steven Wilson alt takes/mixes from the multi-track tapes.

CD 2 features the 30th anniversary mix of the original albums, a US radio advert and an edit (transferred from original vinyl) from a US radio promo EP.

This edition comes with new sleeve notes by King Crimson biographer Sid Smith, along with rare photos and archive material.

Larks' Tongues In Aspic, from 1973, is widely regarded as one of the truly great King Crimson albums.

With its raw tone, inspired improvisations and hard hitting odd-metered rhythms, the album marked a radical departure for this most forward thinking of groups and was the first to include Bill Bruford and John Wetton as band members.

This 40th Anniversary cd/dvd-a edition features new mixes by Steven Wilson (Porcupine Tree) and Robert Fripp.

The cd features a new stereo album mix by Robert Fripp & Steven Wilson and also features three extra Steven Wilson alt takes/mixes from the multi-track tapes.

The dvd-a contains a 5.1 DTS Mix and High Resolution Stereo mixes (24bit/48khz).

The dvd-a features the original album mix, the new album mix, an album's worth of alternate mixes by Steven Wilson (in High Resolution stereo) and over 30 minutes of rare, previously unseen footage of the band - something of a holy grail for King Crimson fans & collectors.

This edition comes with new sleeve notes by King Crimson biographer Sid Smith, along with rare photos and archive material.

Lizard is the third in a series of audiophile King Crimson vinyl reissues.

The album's return to the 12" vinyl format is newly cut from masters approved by Robert Fripp.

Manufactured on 200gm super-heavyweight vinyl & housed in a reprint of the original gatefold sleeve, this edition also contains bonus MP3 codes giving access to a download of a transfer of an original 1970 pressing.

An album unlike any other by this most exploratory of Rock bands, Lizard is an often overlooked and under-appreciated gem.

Red is the fourth in a series of audiophile King Crimson vinyl reissues.

Newly cut from masters approved by Robert Fripp, this super-heavyweight 200gm vinyl re-issue is housed in a reprint of the original sleeve and contains bonus MP3 codes giving access to a download of a transfer of an original 1974 pressing (Robert Fripp\'s personal file copy).

One of the most powerful and influential albums in the band\'s remarkable career.

An experimental hybrid of live material and studio recordings, Starless sits between the landmark releases, Larks' Tongues In Aspic and Red.

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Coming as it does between the startling re-invention of Larks' Tongues In Aspic and the far-reaching repercussions of Red, when it comes to assessments of the King Crimson canon, Starless In Bible Black has often been overlooked. Yet even a cursory listen reveals this to be a powerful record, brimming with confidence borne out of the band's increasing mastery of the concert platform.

Though the public weren't aware of it when it was originally released in March 1974, Starless And Bible Black was in essence largely a live album, an experimental hybrid of in-concert material (much of it improvised) and studio recordings. Often the two are so finely dovetailed together it's difficult to tell them apart.

Only two tracks on the record (The Great Deceiver and Lament) were fully recorded in the studio. The Night Watch contained a live introduction, while the instrumental backing to The Mincer was excised from an in-concert improvisation with vocals overdubbed later. The rest of the tracks were taken from concert recordings from the UK and Europe with the audience carefully edited out.

Starless and Bible Black demanded the attention and concentration of the listener. Crimson's audience responded to the challenge, making it a much loved album by the band. As with the other recordings by the mid 1970s line-up, the intervening years have seen the album's reputation increase among fans & musicians alike, while the then unusual approach to using live performances as core elements of subsequent studio recordings has also become increasingly commonplace.

Robert Fripp once talked about an album being a love-letter and a concert a hot date. Arguably, "Starless" combined the best of both worlds, making it the most accurate representation of the band's uniquely powerful mid-70s identity.

As with other albums in the King Crimson CD/DVD-A series, the stereo CD features a new stereo mix by Robert Fripp & Steven Wilson, while the DVD-A features 5.1 mixes of the album by Steven Wilson, high resolution stereo mixes of the original & new stereo mixes, the full Law of Maximum Distress parts 1 & 2 improvs with The Mincer in their original unedited form/running order, Lament, The Night Watch & Fracture from the same Zurich concert, (completing the show presented in part on The Great Deceiver boxed set), a 1973 live recording of the concert favourite Dr. Diamond & an audio restored bootleg recording of the played once only Guts on my Side. The DVD-A also features live footage from New York's Central Park in 1973 of Easy Money & the improv Fragged Dusty Wall Carpet the track that formed the basis of Guts on my Side.

* As a result of lost multi track tapes Trio & The Mincer have been up-mixed to 5.1 by Simon Heyworth & Robert Fripp.

USA was originally issued in 1975 and marked the final statement by the band's incendiary mid-1970s incarnation.

The CD features a completely new stereo album mix of the full concert by Robert Fripp & David Singleton, while the DVD features High Resolution Stereo mixes (24bit/96khz) of all three editions of this album/concert.

USA was recorded towards the end of King Crimson's final US tour of the 70s in June 1974. It was issued as an epitaph for the band in Spring 1975 as a single album - at a time when doubles or even triple live albums were more considered the norm for live releases. Deleted towards the end of the vinyl era in the mid-80s, it remained unreleased in the CD era until the expanded edition was finally issued in October 2002. In common with much of Crimson's output, it was not well received at the time by critics, though its critical reputation grew immeasurably in the intervening years to the point where a review of the 21st Century Guide to King Crimson boxed set in 2004 identified the album as the point, "...where Fripp maps out the guitar blueprint for the entire post-punk movement."

If that claim sounds somewhat exaggerated, a casual listen to the opening minutes of the album where the ethereal 'walk on...' tape of Fripp & Eno's No Pussyfooting gives way to the sonic assault of Larks' II - provides ample evidence to back up the claim. It's also worth noting the audience response to the band - especially at the end of Starless, a piece that had yet to be recorded in the studio at that point.

The reputation of the 1972/1974 King Crimson line-ups is now revered by critics and fans alike, with the material so sought after that it can justify a full 21 CD/DVD/2 Blu-Ray collection of the US/Canadian tours of Spring/Summer 1974.

Drawn from that release & presented in the King Crimson 40th Anniversary series format, the USA CD/DVD features a previously unreleased mix of the Asbury Park concert that formed the bulk of the original album, while the DVD features Hi-Res stereo versions of that mix, Ronan Chris Murphy's mix of the concert (issued on CD in 2006) & the expanded version of the original vinyl album as issued in 2002.

Uniquely, of the releases in this series, USA is presented in Hi-Resolution stereo only - not 5.1 Surround - as Robert Fripp decided that the live power of the quartet is best experienced in stereo sound.